en wat schrijft hij ?
die toch maar eens moet gaan uitzoeken hoe paypal werkt.....
Svend is right about the dodging. It can just cause the dodged areas to progress to black later than they otherwise would, so at your snatch point they still haven't reached black yet. It's quite easy to do, but I think that here it quite suits the image and the Goth genre, that's just opinion though.
Voor de volledigheid... Svend schreef:
Gorgeous, the lithiness of it really brings out her gothness. Maybe one thing isn't so good: the modelling of her chin and neck, the modelling of her upraised hand holding the cigarette. Lith gives a clumpy, mottled tonality in the darks because of its nature and this quality isn't very well-suited to modelling flesh. I have done some lith printing, and love it, but it doesn't suit all subjects. Here it works on the texture of the brick wall wonderfully. It brings out "the brickness of the brick" in such a graphically potent way. It's also great with her hair and eyes. It might be possible to prevent the hard lith modelling of her flesh by giving more exposure and dodging her chin, neck and hand, and pulling the print before the clumpy blacks start to appear there. But this would probably take many hours and much wasted paper. Probably not worth it, probably not possible to control lith in such a precise way. Rgds, Svend
P.S. Huib... ik heb Sean gewoon een enveloppe met het geld gestuurd, dat ging prima.
Silverprint. I believe the typical lith look of Corbijn was achieved by slightly sepia toning the print after the lith process. Something is mentioned about this on this page:
Downtown was one of the first black and white art-orientated labs labs to emerge in the 1970's, and made full use of the top-quality papers then emerging, notably Agfa Record-Rapid and Brovira, which were just being relaunched into a new quality conscious market. Mike Spry, one of the original partners in Downtown was one of the first printers to nail down 'lith' printing in half tone, and as far as we know actually discovered its use with Oriental Seagull paper. Mike is still working at no 12, but is now mainly concentrating on large prints (20x24" plus), principally on fibre-base paper.